Handel love duets

UNIVERSITY OF TORONTO

FACULTY of MUSIC

2014.2015

SEASON OF EVENTS

Handel Love Duets

Suzie LeBlanc, soprano

Daniel Taylor, counter tenor

Theatre of Early Music Chamber Orchestra

John Leberg, narrator

Friday, October 24, 2014
7:30 p.m. Trinity College Chapel
6 Hoskin Avenue

The Faculty of Music gratefully acknowledges the generous support of our presenting

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Handel Love Duets

Soloists:

Suzie LeBlanc, soprano

Daniel Taylor, countertenor

Theatre of Early Music Chamber Orchestra
Adrian Butterfield, violin 1

Kathleen Kajioka, violin II

Carol Gimbel, viola

Amanda Keesmaat, cello
Christopher Bagan, harpsichord
Sylvain Bergeron, lute

John Leberg, guest narrator

PROGRAM

Overture

Scherzano sul tuo volto (Duet: 1, vi)

Lascio ch’io pianga (Aria: II, iv)

Cara sposa (Aria: 1, vii)
from Rina Ido

George Frideric Handel

(1685-1759)

Ah, Ruggiero crudel...Ombre pallide (Aria: II, xiii)
from Alcina

G. F. Handel

Overture

Domero la tua fierezza (Aria: III, ii)

Caro! Bella! Piu amabile belta (Duet: III, ix)
from Giulio Cesare in Egitto

G. F. Handel

INTERMISSION

Ti lascio empia, incostante (Duet)
from La Luciala

Francesco Manelli

(1594-1667)

Se il cor ti perde (Duet: Act II)
from Tolomeo, de d’Egitto

G. F. Handel

Overture

Signor, deh non partire! (Duet: 1, iii)

Pur ti miro, pur ti godo (Duet: III, viii)
from L'incoronazione di Poppea

Claudio Monteverdi

(1567-1643)

Biographies

SUZIE LEBLANC,
SOPRANO

Internationally
renowned Acadian
soprano Suzie LeBlanc
has carved out one
of the most unique
profiles of any Canadian soprano, with
a career that includes not only recitals
and performances around the world with
orchestras, opera companies, and new,
early and traditional music ensembles, but
also a widely-acclaimed acting performance
as the protagonist in Rodrique Jean's film
Lost Song- named one of Canada's Top Ten
films of 2008 at the Toronto International
Film Festival. Lost Song also won the City of
Toronto - CityTV Award for Best Canadian
Feature Film at the Festival.

She has received four honorary
doctorates for her prolific and widely
acclaimed performances of early music,
as well as for her contribution to Acadian
culture, with three recordings and a
documentary. Recently, she commissioned
eleven Canadian compositions set to the
poetry of Pulitzer-Prize recipient, Elizabeth
Bishop.

She began her career as a well-known
performer and scholar of Baroque repertoire;
exploring and recording a substantial amount
of previously unpublished material. Residing
in Europe between 1987 and 1999, she
performed on main stages such as Het
Concertgebouw, De Nederlandse Opera,

The Vienna Konzerthaus, Wigmore Flail and
the Proms in London. She toured with world
leading European early music ensembles
such as The Consort of Musicke, The
Hilliard Ensemble, Fretwork, The Amsterdam
Baroque Orchestra, La Petite Bande, The
Purcell Quartet, Tragicomedia, Cappella
Brugensis, and Teatro Lirico, working with
conductors and collaborators Ton Koopman,
Sigiswald Kuijken, Richard Egarr, John Toll,
Emma Kirkby, Rachel Podger and Stephen
Stubbs. During this time, she also taught
at the Musikhogskolan in Malmo (Sweden),
taught summer courses in Finland and
Hitchin and gave master classes at the Royal

College of Music in London. In 1998, she was
invited to perform for the former president
of Czechoslovakia, Vaclav Flavel, at the
Canadian Embassy in Prague.

Since returning to Montreal in the
year 2000, she has performed the lead
in the opera It Coronazione di Poppea at
the Opera de Montreal with conductor
Yannick Nezet-Seguin, worked with Kent
Nagano and the Montreal Symphony on a
programme of Japanese songs, performed
in Jonathan Miller's staging of Bach's St-
Matthew Passion at the Brooklyn Academy
of Music (NY) and performed with major
symphony orchestras on both sides of the
border. She also toured in Europe, Canada,
the US and South America with Canadian
ensembles Arion, Les Voix Humaines, Les
Voix Baroques, L'Orchestra Metropolitan,
Music of the Baroque, Early Music Vancouver,
Festival Vancouver, The Theatre of Early
Music, Tempest Baroque Ensemble, and
the Blue Engine String Quartet, as well as
giving workshops and performances with
her own ensemble, Le Nouvel Opera. She
has taught at the Banff Centre for the Arts
and the Orford Arts Centre, and was the
baroque vocal instructor at the Universite
de Montreal for four years. Suzie is part of
the recent exhibition The Fashion World of
Jean-Paul Gaultier which is traveling the
world: Montreal, Brooklyn, London, Paris,
Amsterdam.

In 2011, she turned her attention to a
musical program that commemorates the
connection between Great Village, Nova
Scotia, and the distinguished American poet
Elizabeth Bishop. Ms. LeBlanc commissioned
four of Canada’s top composers to set
Bishop's poems for her to sing with The
Elizabeth Bishop Players (Dinuk Wijeratne,
Conductor) and Blue Engine String Quartet.
The program of original compositions was
first performed on the occasion of the Bishop
centenary celebrations. It is one of five
nominees for the Nova Scotia Masterworks
Awards, being announced November 22,
2014. In addition, Ms. LeBlanc has explored
the art of improvisation with the ensemble
Melosphere on the CD “Tempi con Variazioni’’

which won an Opus Award for best World
Music recording in 2010.

Her recordings, numbered at 70, have
received international praise and several
prestigious awards: a Grammy nomination
for Lully's Thesee and a CINI award (Italy) for
the opera “Orfeo” bySartorio, in which she
sings the leading role. She has recorded for
ATMA, Analekta, Harmonia Mundi, Hyperion,
Chandos, Teldec and Das Alte Werk, among
others. Suzie has been the subject of several
music documentaries, including “More than
a thousand kisses,” and “Suzie LeBlanc and
a man named Quantz”, both produced by
the late Robert Chesterman for Prometheus
Productions, and “Suzie LeBlanc: A Musical
Quest" by Donald Winkler.

In 2010, she was awarded a prestigious
Career Grant from the Quebec Arts Council
(CALQ), which helped her in the creation
of several new projects, including the
“Awakened Rose” project with recitals in
Ontario in 2013 with pianist Julius Drake
(London), and first steps towards the creation
of a programme in honour of her mother,
singer Marie-Germaine LeBlanc. Marie-
Germaine sang professionally from age 13
and won national contests when she was
only 17. She came from a small village in New
Brunswick, but she had a special gift of song,
and her small-town upbringing didn't stop
her. Suzie is creating this program to inspire
young people to dream big.

Suzie’s upcoming engagements include
a tour of Seattle, Edmonton and Greece
with Ensemble Constantinople in November,
December concerts in Nova Scotia to launch
and promote her new Acadian Christmas
CD, “La Veillee de Noel!”, as well as
performances and a recording in January
and February of Karen Young’s “Missa
Campanula.” In addition, she will perform her
Elizabeth Bishop songs in concert with the
Victoria and New Brunswick Symphonies in
February and April, and a concert conducted
by Alexander Weimann and Symphony Nova
Scotia in March.

In addition to her busy schedule as a
performer and recording artist, Suzie LeBlanc
is artistic director of Le Nouvel Opera (www.
lenouvelopera.com), and the honorary patron
of the Elizabeth Bishop Society of Nova
Scotia.

DANIEL TAYLOR,
COUNTER TENOR

An exclusive recording
artist for Sony Classical
Masterworks, Daniel
Taylor is one of the
most sought-after
countertenors in the world. Daniel appears
on more than 100 recordings which include
Bach Cantatas/Monteverdi Choir/Gardiner
(for Deutsche Grammophone Archiv and
SDG); Renaissance duets with Bowman /
Actor Ralph Fiennes/TEM (BIS); Handel's
Rinaldo with Bartoli /AAM/Hogwood (Decca);
Cantatas “Before Bach” with Collegium
Vocale/Herrewege (Harmonia Mundi);
Sakamoto's pop-opera “Life" with the Dalai
Lama and Salman Rushdie (Sony); Bach
Cantatas with Bach Collegium Japan (BIS); a
Bach recital with the Theatre of Early Music
and a recital of Shakespeare’s songs (Sony);
Vivaldi Gloria with the Bethlehem Bach
Choir/Funfgeld (Analekta); Vivaldi’s Stabat
Mater (BIS); four recordings of Handel's
Messiah, these being with the Kammerchor
Stuttgart/Bernius (Carus), with the American
Bach Soloists/Thomas(Koch) and most
recently a CD/DVD with Tafelmusik (Bravo
Television) as a live recording with the New
York Philharmonic/Rilling, and . Daniel has
recorded the CD/DVD of the Bach B minor
Mass with the Ensemble Orchestral Paris/
Nelson (EMI Virgin) and also a CD with the
Kammerchor Stuttgart/Bernius (Carus).
Upcoming recordings also include Bach
Cantatas with the Magdalena Consort/
Channel and Messiah with Boston’s Handel
& Haydn Society/Christophers (Coro). Daniel
recorded the Children's disc ‘Angel Heart'
with Frederica Von Stade, Matt Haimovitz and
the Actor Jeremy Irons (Oxingale) - this disc
won a GRAMMY.

In his role as a Conductor, Daniel
debuted as the first Guest Conductor in the
history of the Tallis Scholars. He debuted
recently with the Kammerchor Stuttgart and
also with the Gabrieli Consort. Daniel’s debut
at Glyndebourne in Peter Sellar’s staging
of Handel's Theodora (recorded for Erato)
followed on his operatic debut in Jonathan
Miller's production of Handel's Rodelinda
(EMI). He took the title role in Gluck’s Orfeo
at the Edinburgh Festival. His North American

operatic debut was in Handel's Cesare at
the New York Metropolitan Opera. Daniel
receives invitations from an ever-widening
circle of the world's leading early and
contemporary music ensembles, appearing
in opera (Metropolitan Opera, Glyndebourne,
San Francisco, Rome, Welsh National Opera,
Canadian Opera, Opera North, Montreal
Opera and Munich); oratorio (Gabrieli
Consort, Monteverdi Choir/English Baroque
Soloists, Bach Collegium Japan, Les Arts
Florissants, Berlin Akademie fur Alte Musik,
Orchestra of the Age of Enlightenment, King's
Consort); symphonic works (Cleveland, St.
Louis, Lisbon, Philadelphia, Tonhalle Zurich,
Toronto, Gothenburg, Rotterdam, Montreal);
recital (Vienna Konzerthaus, Frick Collection,
New York, Forbidden Concert Hall, Beijing,
Lufthansa Baroque Festival, Carnegie and
Wigmore Hall, London) and film (Podeswa's
Five Senses for Fineline - winner at Cannes
and also of a Genie). Daniel Taylor is now
recognized as “Canada’s star countertenor’’
and “Canada’s most prolific recording artist”.

Highlights of past engagements include
Handel’s Messiah with San Francisco
Symphony/Christophers; Handel’s Rinaldo
with the Academy of Ancient Music/Hogwood,
Handel’s Israel in Egypt with the Cleveland
Orchestra/McGegan; Orff's Carmina Burana
with the Toronto Symphony/Oundjan;

Messiah with the St. Louis Symphony/
Christophers; Bach Christmas Oratorio with
the National Arts Centre/Pinnock; Handel’s
Rinaido at the Munich Opera House/Bickett;
Bernstein's Chichester Psalms with the
Philadelphia Orchestra/Dutoit; Handel's
Saul with Bachakademie Stuttgart/ Rilling
(for Hanssler Classics); Buxtehude Cantatas
with the Amsterdam Baroque Orchestra/
Koopman (Channel Classics); Orffs Carmina
Burana with the Taiwan National Symphony/
Grossman (Koch), Bach Cantatas with the
Bethlehem Bach Choir/Fumfgeld (Analekta)
and Schnittke's Faust Cantata with the
Rotterdam Philharmonic/Gergiev. Daniel
sang at a Pow-Wow of First Nations in Alberta
and on Parliament Hill for Queen Elizabeth
and the Prime Minister of Canada. He
appeared on German Television for the Prime
Minister of Germany, on Spanish Television
for the Queen of Spain and in a recital for the
King and Queen of Sweden. With the Gabrieli

Consort/McCreesh, he toured Europe in
Purcell's Odes, appeared in recital on Polish
Television and toured Purcell's Dido and
Aeneas. With the Madrid National Orchestra/
Goodwin, he sang in the Bach St. Matthew
Passion on Spanish Television. With the
Monteverdi Choir/Gardiner, Daniel appeared
on the Bach Cantata Pilgrimage joining in
concerts and recordings across Europe and
North America. With the English Baroque
Soloists/Gardiner, he appeared in Handel's
Messiah and Handel's Israel in Egypt at the
BBC Proms; returning to the BBC Proms in
recital with the Berlin Akamus.

During the last season, new recordings
were released: Handel Messiah with the
Montreal Symphony/Nagano (for Universal),
Bach St. John Passion with the Bethlehem
Bach Choir/Funfgeld (Analekta); Daniel
also appeared on the new soundtrack with
the Cirque du Soleil (Universal). Messiah
performances included Dallas Symphony/
Rilling, Tafelmusik and a return to Los
Angelas and San Francisco Philharmonia
Baroque/McGegan. Highlights also included
Orff Carmina Burana with National Arts
Centre Orchestra /Matheus. Recital
appearances across the United States
culminated in his return to New York’s
Carnegie Hall followed by his return to the
Teatro Colon in Buenos Aires for Handel's
Rinaldo. Recent engagements include
the World Premiere of Robert Lepage’s
production of Ades' The Tempest, Britten
Canticles at Lincoln Centre and Daniel’s
latest recording on SONY was the new recital
disc “Come Again, Sweet Love” on Sony.

In 2014-2015, Daniel returns to
Washington’s Kennedy Centre for the
Bach B minor Mass, debuts at the Vienna
Musikverein with the Wiener Akademie/
Haselbock in Bach Cantatas, appears with
Tafelmusik in Bach's St. John Passion, tours
to Italy, Spain and Germany in Handel's
Messiah and returns in recital to London’s
Wigmore Hall.

As an educator, Daniel has offered
master classes at the Beijing Conservatory,
the Sao Paolo Conservatory, at the Royal
Academy, the Guildhall and the Royal College
of Music. He has also given classes at
leading Universities across North America.
This year he begins in his role as Visiting

Professor at the University of Vienna. The
University of Toronto recently appointed
Daniel Taylor to the position of Head of
Historical Performance in the Faculty of
Music. Daniel's responsibilities include
directing the Schola Cantorum Choir and
Orchestra at the University of Toronto as
well as coaching students in the Opera
Department and maintaining a Voice Studio.
Daniel is Artistic Director of the Quebec
International Festival of Sacred Music and
Artistic Director and Conductor of the Choir
and Orchestra of the Theatre of Early Music.
The Theatre of Early Music performs more
than 30 concerts every year in concert halls
all over the world.

ADRIAN

BUTTERFIELD, VIOLIN

Adrian is a violinist,
director and conductor
who specializes in
performing music from
16001900 on period
instruments. He is Musical Director of the
Tilford Bach Society and Associate Director
of the London Handel Festival and regularly
directs the London Handel Orchestra and
Players as well as working as a guest soloist
and director in Europe and North America.

The London Handel Players perform
regularly at the Wigmore Hall and throughout
Europe and North America and their Handel
recordings have received glowing reviews.

The Revolutionary Drawing Room specializes
in classical and romantic music on period
instruments and has also performed in North
America and Europe. A new recording of
quartets by Haydn, Mozart,

Vanhal and Dittersdorf will be released in the
autumn of 2014 and RDR will be celebrating
their 25th anniversary in 2015. Other recent
CD releases include Mozart's Clarinet Quintet
with Colin Lawson on Clarinet Classics and
Geminiani's Op.l sonatas (SOMM) in 2012.
Adrian's world premiere complete recordings
of Leclair's Books 1 and 2 violin sonatas
were released in 2009 and 2013 on Naxos
Records.

He works annually with the Southbank
Sinfonia, is Professor of Baroque Violin

at the Royal College of Music in London,
gives masterclasses in Europe and North
America and teaches on the Aestas Musica
International Summer School of Baroque
Music and Dance in Croatia.

Recent highlights have included
conducting the LHO in Bach’s B Minor Mass,
St. John Passion and Magnificat at Tilford
and Handel's Israel in Egypt at St. George’s,
Hanover Square and La Resurrezione at
the Wigmore Hall, directing the London
Mozart Players in Bach and Mendelssohn
and appearing on Croatian Television with
LHP as well as appearances at the Brighton,
Gregynog, Kings Lynn and Buxton Festivals.

Plans for the 2014/15 season include
a number of projects in Canada, LHP’s
debut at Carnegie Hall and the Halle Handel
Festival in Germany as well as a return to the
Wigmore Hall. He will appear again with the
Croatian Baroque Ensemble in Zagreb and
direct a programme of Leclair and Locatelli
at the Greenwich Early Music Festival. RDR’s
25th anniversary celebrations will open with
concerts for the Tilford Bach Society and at
St. John's, Smith Square. Adrian will also
direct one singer per part performances of
the St. Matthew Passion at the Tilford Bach
Festival and at St. John’s, Smith Square next
June with the LHO.

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JOHN LEBERG,
NARRATOR

In a day and age when
the divisions between
us only seem to be
growing more distinct,
and many make it their
business to enhance and embolden those
differences, the arts stand as a powerful
unifying force that binds us to celebrate
the joys of humanity, resulting in building a
healthy and vibrant community.

John Leberg is recognized across North
America for his work as the Director of
Operations and Deputy General Director of
the San Francisco, Managing Director of
the Michigan Opera, Director of Operations,
Director of Production and Deputy General
Director of the Canadian Opera Company in
partnership with his work as a Consultant

for leading orchestras and Stage Directors
for major Opera Houses. John is the Founder
and Artistic Director of Stratford Music and
Opera and a Member of the Order of Canada.

John Leberg writes:

What was the goal of my work? What are
my limits? These are questions prompted by
childish egoism, or escaping from the ideals
I have lived with too long; for they disguise
a foolish yearning to be superior to others
which is but a barren victory. Such goals may
win Canada Council grants, Commemorative
Medals or Orders of Canada but in the end
they only provoke insipid conversations on
art .Canada prides itself on institutions such
as conservatories, art schools etc. They
provide contests which are heralded by strict
training and hard work. To win or not to win
is a question of whether one did or did not
possess real talent. Such are the rules that
are taught in Conservatories which bring with
them accreditation and financing.

I have peculiar views on music. I have
noticed the hostility of a concert audience,
studied their drugged expression of boredom
and indifference. They endure the tedium of
their position with patience. Why come? A
good reason is perhaps their hatred of music.

The genuine appreciation of beauty can
only result in silence. Have you ever thought
of applauding the wonder of a sunset.

I dislike specialists- they attempt to
narrow my universe. Nevertheless because
I have studied music it has made me safe
from every kind of surprise. So I try to forget
music: why cling to something one knows
too well. I am more interested in sincerely
and honestly felt feelings than in criticism.
Emotion is much more interesting than the
fun in pulling apart music and performers,
like curious watches.

The enthusiasm of society spoils an
artist for me because I fear he will become
merely an expression of society.

So I have left behind my association
with the Canadian Opera, the San Francisco
Opera, Michigan Opera and the dreadful
business of making opera. I now prefer to
live happily with my wife and our animals and
study great works, good food and wine at my
leisure.

SYLVAIN BERGERON,
LUTE

Sylvain Bergeron has
always been fascinated
by the historical context
of the things around
him. His childhood
ambition of becoming an archeologist was
eventually replaced by his interest in music,
which like most teenage boys, started with
the guitar. He listened to British bands
like Jethro Tull, Gentle Giant, and Genesis,
learning entire albums such asThick as a
Brick and Fox Trot by heart.

Bergeron still remembers the precise
day he decided to switch from guitar to lute:
listening to recordings in his older brother
Alain’s collection, which included music by
Bartok, Bach and Stravinsky, he chanced
upon a recording of Troubadour music by
Thomas Binkley. “This was a revelation!",
says Bergeron. “Discovering the sound of
the medieval instruments, their nuances,
languages, the creativity of the performers,
the freedom of interpretation. Clearly, that
was the «real» stuff I was looking for, and
I became totally convinced this was what
I wanted to do." He soon learned to read
music and began formal lessons, and
eventually devoted himself completely to the
lute and its family of instruments. Bergeron
went on to study with Paul O'Dette and
Eugene Dombois. In 1991 he co-founded the
ensemble La Nef and directed many of their
productions, including Perceval, The Quest
for the Holy Grail, Montsegur, The Garden of
Delights and Music for Joan the Mad.

Described as “a supremely refined,
elegant, cerebral musician who ... seems
to find a spiritual home in these haunting,
restrained-yet-achingly lyrical pieces” ( Ottawa
Citizen), Bergeron is a master of many other
plucked-string instruments including theorbo,
oud, and baroque guitar. He is in constant
demand both as a soloist and ensemble
player, and has accompanied such giants
as viol player Jordi Savall in concert halls
around the world including Amsterdam’s
Concertgebouw, Paris's Salle Gaveau and
New York’s Lincoln Center. Naturally, as a
lutenist he has accompanied many singers

and has performed and recorded with such
stars as Dame Emma Kirkby, David Daniels,
Daniel Taylor, Suzie LeBlanc, Vivica Genaux,
Agnes Mellon, and Charles Daniels.

THEATRE OF
EARLY MUSIC

Founded
by Artistic
Director and
Conductor
Daniel Taylor
in 2002, the Theatre of Early Music (TEM)
are sought-after interpreters of magnificent
choral repertoire from five centuries. Their
appearances include stunning a cappeila
programs, with practices and aesthetics of
former ages informing thought-provoking,
passionate and committed reconstructions
of music for historical events and major
works from the oratorio tradition. Through
their concert performances and recordings,
the 10-18 solo singers offer a purity and
clarity in their sound which has resulted in
invitations from an ever-widening circle of the
world's leading stages. With Daniel Taylor,
the Choir and Orchestra of the TEM are new
visitors to the most renowned concert halls
and festivals and are building an exciting
discography in partnership with Sony
Classical Masterworks and Analekta.

The Theatre of Early Music is an
ensemble of some of the world's finest
musicians, sharing a particular passion for
early music. Its formation is the result of
a search by instrumentalists and singers
for opportunities that would allow devotion
and dedication to enter into the creative
process. The core of the TEM consists of an
ensemble based in Canada that is primarily
made up of young soloists. Their distinctive
style, coupled with its artistic director Daniel
Taylor’s expertise and enthusiasm, leads to
captivating readings of sacred music.

In various combinations, leading
international musicians in the field perform
on the platform provided by the Theatre of
Early Music in concerts conducted by Daniel
Taylor in its regular series in Montreal, Ottawa
and Toronto, on tours around the world
and on recordings. TEM appear in some
thirty concerts every year, recently having

performed on stages in France, Argentina,
Brazil, England and China. In recent seasons
the TEM led a successful North American
tours that culminated with their debut at New
York’s famous Carnegie Hall. The calendar
also includes collaborations with Dame
Emma Kirkby, with the Tallis Scholars and
the Gabrieli Consort, concerts of Handel's
Coronation Anthems and ancient German
music, as well as tours of Canada, the United
States and South America. In 2012, the TEM
was named Visiting Ensemble-in-Residence
at the University of Toronto.

Guest artists performing with the TEM
include Nancy Argenta, Karina Gauvin
Dame Emma Kirkby, Suzie Leblanc, Carolyn
Sampson, Deborah York, Robin Blaze,

James Bowman, Michael Chance, Benjamin
Butterfield, Charles Daniels, James Gilchrist,
Michiel Schrey, Neal Davies, Alexander
Dobson, Michael George, Peter Harvey,

Daniel Lichti and Stephen Varcoe.

The TEM's first recording with BIS
Records, Legons de Tenebres by Couperin,
featured Taylor and Blaze and was released
in 2005. The disc was received with critic
acclaim: “Beauty of this recording bows to
no other." This disc was followed in February
2006 by another BIS Records album
featuring an original program of works from
the Renaissance entitled Love Bade Me
Welcome. The program presented the actor
Ralph Fiennes reciting poetry as well as
duets with counter-tenors James Bowman
and Daniel Taylor. Critics unanimously
praised “the legendary counter-tenor
James Bowman in the magical duets with
remarkable young star Daniel Taylor." In
2009, the TEM also released Vivaldi’s S tabat
Mater with BIS records, which also featured
Bach’s setting of Pergolesi’s S tabat Mater
featuring Dame Emma Kirkby.

The Choir and Orchestra of the Theatre of
Early Music has released 14 CDs so far, and
now records exclusively for Sony Classical
Masterworks and Analekta. The best-selling
debut disc on the Sony label entitled The
Voice of Bach was praised in Gramophone
Magazine as “serious music-making of the
highest order”. The disc received five stars
from both BBC Music Magazine and Classic
Music CD, was featured on BBC’s “Desert

Island Discs” and received acclaim worldwide
including reviews from the Times (London),
the Globe and Mail (Toronto), the New York
Times, the Guardian (London) and La S cena
Musicale (Montreal). The TEM's latest Sony
disc, Come Again Sweet Love, was featured
in Gramophone UK, BBC Music Magazine
and in Canada’s national journals, on radio
and television.

Most recently, the TEM released The
Heart's Refuge with Analekta. This disc
featured the TEM Choir and Orchestra,
joined by the University of Toronto’s vocal
ensemble Schola Cantorum, led by Daniel
Taylor interpreting vocal works of Buxtehude,
J.C. Bach, Kuhnau and Bruhns as well as a
short instrumental selection by Schmelzer.
The CD was praised, “In perfect harmony,
the choir, soloists and musicians of the TEM
immediately transport us elsewhere and for
quite sometime. Such sound, such purity
and such recording quality alone would have
justified the invention of high fidelity - Thank
you Mr. Taylor”

The TEM became a registered non¬
profit organization in 2002 and a charitable
organization in August 2004.

Quebec’s Le So/e// described the Choir
of the TEM conducted by Daniel Taylor in
concert:

“Listening to the 20 pure angelic voices
had already moved many to tears. The mix of
light but exact timbres conserves a texture
that is lithe yet at times sumptuous. The text
is sustained and respects the music of the
language. Clear intonation and balance were
in evidence: unity and cohesion particularly
strong. Daniel Taylor directs as he sings,
this is to say with an ease and economy
of gestures. The result is a most moving
ensemble that could not be more supple,
more pleasing. Every moment spoke to the
audience and answered perfectly, providing
it seemed what the audience was searching
for. At a concert entitled The Path to
Paradise', apparently, many had found their
path."

YOUR SUPPORT
IS HISTORICAL

Today’s concert is one of a series of performances highlighting Early Music at
the University of Toronto. The U of T Early Music and Historical Performance
program is one of the most comprehensive programs of its kind. Instructors
in the Early Music Area include esteemed scholars and renowned guest
performance instructors. Programs are structured to nurture and develop the
artistry of young musicians by ensuring a healthy secure technique, stylistic
and musical versatility, performance skills and comprehensive performance
experience.

We need your support for this exciting initiative. Opportunities are available
to sponsor concerts, visiting artists, master classes and to establish
scholarships. For further information please contact Bruce Blandford,

Director of Advancement at 416-946-3145 bruce.blandford@utoronto.ca.

Gifts may be made online at https://donate.utoronto.ca/music.

Thank you for your support!

The Faculty of Music gratefully acknowledges the generosity of the individuals, foundations, associations and
corporations who gave annual gifts of $1,000 or more between March 1,2013 to September 1,2014,
in support of our students and programs. Thank you for the part you are playing in advancing
the cause of music education in Canada.

Mark Abbott
Lillias Cringan Allward
Raymond C. K. Ang
Hilary J. Apfelstadt*#
ARIAS: Canadian Opera
Student Development
Fund

Neville H. Austin*

Gregory James Aziz
John and Claudine Bailey
Lee Bartel# and Linda
Cameron
Florence Barwell
David Beach
John Beckwith* and
Kathleen McMorrow
Christie Bentham
Bruce Blandford# and Ron
Atkinson
Jean Bohne

Walter M. Bowen and Lisa
Balfour Bowen
David G. Broadhurst
Ruth Budd
Howard Cable
Melissa Campbell
Glenn H. Carter
Larry W. Chambers
Frederick H. K. Chapman*
Caryl Clark#

Earlaine Collins
George and Sheila Connell
Marilyn E. Cook
Ninalee Craig
Denny Creighton and Kris
Vikmanis
Neil Crory
Vreni and Marc
Ducommun
The estate of J. Bruce
Duncan*

Gerard Dunnhaupt
Robin Elliott*#

Brigid Elson

Gladys and Lloyd Fogler
Gordon Foote#

William F. Francis
Mary Craig Gardner

Anne E. Gibson
Susan C. Girard
Merle H Gobin-Valadez
Al and Malka Green
Morton Greenberg
Nancy E. Hardy*

Ethel Harris

J. Russell Hartenberger#
The William and Nona
Heaslip Foundation
Jerry Heffernan
Hellenic Heritage
Foundation
PaulT. H el Iyer
Dianne W. Henderson
Harcus C. Hennigar*#

The estate of Leonore V.

Hetherington
The estate of John A.

Hethrington
J. Hobbs

Richard and Donna
Holbrook
Alan Horne
Jo-Anne Hunt
Michael and Linda
Hutcheon

Investors Group Matching
Gift Program
Jackman Foundation
The estate of Ethel Berney
Jackson
JAZZ.FM91

The Norman and Margaret
Jewison Charitable
Foundation

Howard and Karen Kaplan
Marcia and Paul Kavanagh
Keith Foundation
William and Hiroko Keith
Arthur Kennedy
Hans Kluge
Ingeborg Koch
Murray and Marvelle
Koffler

Midori Koga#

Kevin Komisaruk# and
Jeffrey Steele

Patricia Kraemer
Victor Kurdyak
Daniel Kushner
Carolyn Lake
Leslie and Jo Lander
Megan Lau
John B. Lawson
Jim Lewis#

Patrick Li*

V. Lobodowsky
Grace Loci lento
Long & McQuade Musical
Instruments
Lorna MacDonald#

Gillian MacKay#

Bobby and Gordon
MacNeill

Donald R. McLean*# and
Diane M. Martello
Angela McPeek
Don Melady and Rowley
Mossop

Miller Khoshkish
Foundation
Roger D. Moore
Ruth Morawetz
Mary Morrison#

Sue Mortimer
Sylvia Mureddu
Mike Murley#

The Nandan Fund
Paul and Nancy Nickle
Wendy Nielsen#

Phillip Nimmons#

James Norcop
Cristina Oke

Ken Page Memorial Trust
James E. K. Parker#

Mary Ann Parker#
Annalee Patipatanakoon#
Steven Philcox#

Brett A. Polegato*

Terry Promane#

Paul E. Read*

Jeffrey Reynolds#

Robert Rienzo
Rodney and Evette
Roberts

Shauna Rolston# and
Andrew Shaw
John Rothgeb
Angela Rudden
The Ryckman Trust
F. Raymond Salemme
Chase Sanborn#

Elvino Sauro

Longinia Sauro

Ezra and Ann Schabas

June Shaw

Terry Sheard

Stephen and Jane Smith

David Smukler

The Sound Post

John C. and Ellen Spears

Darrell Steele*

Patricia and David Stone
The Stratton Trust
Janet Stubbs*

Barbara and John
Sutherland
Ann D. Sutton
Brian Tanner
Ian and Kath Taylor
LisaTeskey

Richard lorwethThorman
RikiTurofsky* and Charles
Petersen
Catherine Ukas
Sandra K. Upjohn
M Pamela Vanneste*
William and Phyllis Waters
Ruth Watts-Gransden
Daniel G. Weinzweig
Jon Whitehead
Women's Art Association
ofCanada

Women's Musical Club of
Toronto Foundation
Lydia Wong*#

Marina Yoshida
4 friends of the Faculty of
Music

*Faculty of Music alumnus
#Faculty of Music faculty
or staff member

For information on giving opportunities at the Faculty of Music please contact Bruce Blandford at 416-946-3145
or make a gift online at https://donate.utoronto.ca/music

Path to Paradise

SCHOLA CANTORUM & THEATRE OF EARLY MUSIC

Daniel Taylor, conductor

A concert featuring music by Palestrina, Taverner, Britten, Tallis
as well as a work by the celebrated choreographers David Earle
and James Kudelka. Dancers from Coleman, Lemieux & Company
join the ensemble for Bryar’s “Jesus Blood Never Failed Me”
and Allegri’s forbidden “Miserere”.

NOVEMBER 8, 2014-7:30 PM

TRINITY COLLEGE CHAPEL
6 HOSKIN AVENUE, TORONTO, ON

The Coronation
of King George II

SCHOLA CANTORUM & THEATRE OF EARLY MUSIC

Daniel Taylor, conductor

A revival of the critically praised sold-out presentation of the
Coronation Service! Violinist Cristina Zacharias leads the
orchestra in music by Gibbons, Purcell, Tallis and Handel to
reconstruct the magnificent evening honouring King George II
that will capture the splendour of the occasion.“VIVAT REX”

NOVEMBER 9, 2014-7:30 PM

TRINITY COLLEGE CHAPEL
6 HOSKIN AVENUE, TORONTO, ON

The Faculty of Music is a member of Bloor St. Culture Corridor

www.bloorstculturecorridor.com

BLOOR ST.
CULTURE
CORRIDOR